Michael Giacchino's Rogue One: A Star Wars Story (2016) - 2022 Expanded Edition now available

[Bespin 8,480]

1 minute ago, Stefancos said:

Thats 100% impossible 

Just like the probability of me liking this movie.

[Giftheck 916]

Not going to happen for sure. Giacchino will be including Star Wars themes in there.

 

But here's how I'd play it: Old Imperial theme from ANH should be the Imperial Theme here. The Imperial March should be reserved for Vader appearances exclusively. The Force Theme should be kept out of the film except for where the Force is directly mentioned (IE with relation to Jedha, perhaps?). The Rebel Fanfare should be included but perhaps reworked to be more uncertain rather than a straight-up fanfare. And you can bet Giacchino will be reprising the End Credits. Whether the Main Titles stay, however, depends entirely on whether there is an opening crawl at all. They might just save money and reuse TFA's if that's the case.

 

I wonder if they'll get Giacchino to compose music for the Lucasfilm logo. I'd be very much against him doing so even though I did want him on a Star Wars film: that honour should 100% go to John Williams and no other.

[Bespin 8,480]

This will be the title of a pool someday: which of the 42 Star Wars movie is your favorite and why.

 

Depressing.

[Luke Skywalker 1,792]

I feel this rushed score may end up being a pastiche. Not good for Giacchino, because he will be critisized...but it wouldnt be his faults as that's probably what the producers want if they feel so insecure about the film. He could have declined of course... but who, aside from desplat., would?.

 

Having the Yavin base, and even Mon mothma in this film... i think the rebel fanfare will be here with pomp and circumpstance.

[#SnowyVernalSpringsEternal 10,265]

"What Will You Be Yavin?" Can be a tracktitle!

[BloodBoal 7,538]

[Giftheck 916]

"Wish Upon A Star Destroyer".

"Pass Me The Jyn"

[Quintus 5,399]

The new cast members must surely have had Death Stars in their Eyes during filming. 

[#SnowyVernalSpringsEternal 10,265]

1 minute ago, Quintus said:

The new cast members must surely have had Death Stars in their Eyes during filming. 

 

*shakes head*

[Quintus 5,399]

Get lost you loved it, go on, admit it! 

[#SnowyVernalSpringsEternal 10,265]

I'm not even sure I get it...

[Quintus 5,399]

You normally see that as either a challenge or a learning exercise. 

[#SnowyVernalSpringsEternal 10,265]

Fever mate. I'm not firing on all cilinders today

[TheUlyssesian 2,473]

18 hours ago, karelm said:

My issue is that Giacchino, though a fine composer, is not a great spotter.  Herrmann, Goldsmith, Williams were/are all brilliant at it and that is a big part of why their scores get elevated above the others.  They get to the subtext of the scene rather than just the action of the scene.  For example, in Jurassic World, Giacchino might use the Jurassic Park theme where it made no dramatic sense.  Two characters discussing trivial dialog or something but it had a feel of "we need more references to make it feel like Jurassic Park".  Mastery in spotting is unjustly ignored these days.  Goldsmith was so detailed in his spotting.  In Patten, there isn't a single wasted note.  3 hour film with only 30 minutes of score but the music was very well spotted.  JW's equivalent is Saving Private Ryan.  Brilliant spotting.  Here is another fantastic example of JW's very fine spotting:

 

This scene is also an example of extremely good acting, cinematography, lighting, editing, directing, etc.  Yes, spotting decisions aren't made in a vacuum.  They are discussed and debated with the director and creative team but there is clearly a strong opinion of what the music needs to do in that moment to further the story and maybe even explain what is not being said (the subtext).  I have felt Desplat to have a greater awareness of this tool but Giacchino isn't quite there yet.  Maybe he just hasn't had the opportunity and in this film he'll nail in.

 

I have a feeling that Gia might have gotten worse at this? 

 

I think his two best spotted scores are Ratatouille and Up. Say what you will about Up whether it is manipulative or sentimental but every single instance of Ellie's theme is applied with ruthless efficiency for maximum heartbreak. Ellie is not present for 95% of the film and Gia brings her back emphatically in key moments just with her theme and it breaks your heart into a million pieces. 

 

So much so that people cry just listening to the score - because of how it is linked to the memory of those scenes. 

 

I think Spotting was generally better in classic Hollwood film scores. Scores told a story, today not so much.  The great maestro of course remains the exception and the ideal everyone should aspire to.  I think Williams sense of drama is unparalleled (look to Tintin for his mastery in that regard).

 

Scores these days never have the sort of in film impact that they used to have.  Think Gone With The Wind, Lawrence of Arabia,  Ben Hur, the scores really told a story there. 

[Bilbo 3,709]

Spotting is probably difficult when the composer probably never sees locked picture until the premier. 

[#SnowyVernalSpringsEternal 10,265]

That is certainly true. One possible reason why Hook is so overscored.

[Quintus 5,399]

19 hours ago, karelm said:

My issue is that Giacchino, though a fine composer, is not a great spotter.  Herrmann, Goldsmith, Williams were/are all brilliant at it and that is a big part of why their scores get elevated above the others.  They get to the subtext of the scene rather than just the action of the scene.  For example, in Jurassic World, Giacchino might use the Jurassic Park theme where it made no dramatic sense.  Two characters discussing trivial dialog or something but it had a feel of "we need more references to make it feel like Jurassic Park".  Mastery in spotting is unjustly ignored these days.  Goldsmith was so detailed in his spotting.  In Patten, there isn't a single wasted note.  3 hour film with only 30 minutes of score but the music was very well spotted.  JW's equivalent is Saving Private Ryan.  Brilliant spotting.  Here is another fantastic example of JW's very fine spotting:

 

This scene is also an example of extremely good acting, cinematography, lighting, editing, directing, etc.  Yes, spotting decisions aren't made in a vacuum.  They are discussed and debated with the director and creative team but there is clearly a strong opinion of what the music needs to do in that moment to further the story and maybe even explain what is not being said (the subtext).  I have felt Desplat to have a greater awareness of this tool but Giacchino isn't quite there yet.  Maybe he just hasn't had the opportunity and in this film he'll nail in.

 

For me, Williams overscored Empire of the Sun, and I find the music to be OTT in the scene you linked to - but the sudden fade to black somehow saves the moment after the fact and successfully imbues real cinematic poignancy into what was very nearly a melodramatic sequence of otherwise stunning photography, due to the lack of restraint in the underscore in that particular scene.  

[Naïve Old Fart 9,498]

No, sir, not impossible, 'cause no-one's ever gonna find out they're in there, 'cause Gia's gonna find 'em, and he's gonna air 'em out.

[#SnowyVernalSpringsEternal 10,265]

It's supposed to be over the top in that scene. Scoring the childs imagination rather the reality.

 

I swear to God, only me and Alex understand that film!

[Quintus 5,399]

I've been over this, I know the explanations. I just don't agree that the music pulls it off. The approach doesn't work for me at all. 

 

John Williams in full on soaring emotion mode dates this finally shot but flawed war film. 

 

Are you and Alex special ones? Like Mourinho... 

[crocodile 7,984]

And Mike Matessino. He actually mentioned in his LLL booklet essay how the score portrays reality through kid's perspective. And even the bits that would be at odds with this approach were unused in the final film.

 

Karol

[#SnowyVernalSpringsEternal 10,265]

Yes! I am the Special One!

[Naïve Old Fart 9,498]

10 minutes ago, Stefancos said:

It's supposed to be over the top in that scene. Scoring the childs imagination rather the reality.

 

I swear to God, only me and Alex understand that film!

 

Not just you two.

I love it when the camp commander says "Boy. Difficult boy".

[#SnowyVernalSpringsEternal 10,265]

Welcome to the club Richard. We happy few should start JWFAN Pro!

[Quintus 5,399]

Superior album though, I play it quite a lot lately. Film score though? Nah, it can get a bit much. 

[#SnowyVernalSpringsEternal 10,265]

Close, but not enough to get into JWFAN pro.

[Quintus 5,399]

I'd rather play bingo. 

[#SnowyVernalSpringsEternal 10,265]

Every Thursday night on JWFAN pro! 

[Naïve Old Fart 9,498]

24 minutes ago, Stefancos said:

Welcome to the club Richard. We happy few should start JWFAN Pro!

 

If truth were known, I loved EOTS when I saw it in the West End, in April, 1988, on its UK release (in a THX cinema, no less) But...it's taken me almost 30 years to truly appreciate it. Its an ever-opening flower, that reveals more, the more you watch it. Along with JAWS, and E.T. it might just form a triumvirate of perfect Spielberg films.

[#SnowyVernalSpringsEternal 10,265]

Yes!

[Quintus 5,399]

When I watched the film as a young teen I was blown away by it, hence why I bought the blu-ray last year. 

[#SnowyVernalSpringsEternal 10,265]

You should have stayed younger!

[Quintus 5,399]

There's more to life than Empire of the Sun! 

[#SnowyVernalSpringsEternal 10,265]

2 minutes ago, Quintus said:

There's more to life than Empire of the Sun! 

 

 

[karelm 2,903]

1 hour ago, Quintus said:

 

For me, Williams overscored Empire of the Sun, and I find the music to be OTT in the scene you linked to - but the sudden fade to black somehow saves the moment after the fact and successfully imbues real cinematic poignancy into what was very nearly a melodramatic sequence of otherwise stunning photography, due to the lack of restraint in the underscore in that particular scene.  

 

I actually think EotS is very selectively scored.  There are only maybe two big moments and I remember having to wait over an hour for a big theme.  This was very restrained scoring. 

[Naïve Old Fart 9,498]

53 minutes ago, Quintus said:

There's more to life than Empire of the Sun! 

 

Love to prove that, wouldn't ya, get your name into the National Geographic.

[publicist 4,643]

2 hours ago, TheUlyssesian said:

Scores these days never have the sort of in film impact that they used to have.  Think Gone With The Wind, Lawrence of Arabia,  Ben Hur, the scores really told a story there. 

 

No need to go that far. Only 18 years ago, there was a summer line up of 'Mulan', 'Small Soldiers', 'Saving Private Ryan' and 'The Mask of Zorro', 'Prince of Egypt', 'Legend of 1900', 'Mighty Joe Young' and so on. And back then we complained how lousy things were. And every one of those told bang on stories musically.

 

[#SnowyVernalSpringsEternal 10,265]

Film music changed after Return Of The King.

[publicist 4,643]

Which more or less coincides with Goldsmith's death.

[#SnowyVernalSpringsEternal 10,265]

Yes!

[leeallen01 2,133]

Personally, I can't wait for '100 Parsec Dash.'

[Nick1Ø66 4,689]

So I notice this today...

 

Quote

We’re three months away now from the release of the next Star Wars movie, Star Wars: Rogue One. Disney boss Bob Iger has seen a rough cut of the film, that Gareth Edwards is directing, and says that “it’s really interesting in terms of Star Wars storytelling”.

 

"Interesting." Yep, this is going to suck.

 

He goes on later to say he loves it of course, but I have a bad feeling about this.

 

[mrbellamy 6,272]

Haha yeah, I've heard "interesting" is a notoriously backhanded compliment in Hollywood terms.

[#SnowyVernalSpringsEternal 10,265]

Why would Bob Iger do that to his own film though?

The shareholders will not be pleased.

[Nick1Ø66 4,689]

I'd guess he's managing expectations. In the same article he says Rogue One won't make as much as TFA. Which to me is a given, even if it's great it's hard to imagine it making that much.

[gkgyver 1,645]

On 19.9.2016 at 0:12 AM, alan1984 said:

 

It's as true as any of the speculation on here with regards the reasoning for the change and the evil interference of Disney

But yeah, Part 2 was lacking the theme he wrote for Voldemort in Part 1. That and I thought his HP scores were pretty uninspired anyway. The only time the music really stood out was when they were tracking or re-recording (I forget which) Williams.

 

There was a Voldemort theme? Where?

[mrbellamy 6,272]

 

[Naïve Old Fart 9,498]

On 20/09/2016 at 10:30 PM, leeallen01 said:

Personally, I can't wait for '100 Parsec Dash.'

 

I can 

[#SnowyVernalSpringsEternal 10,265]

33 minutes ago, Nick1066 said:

I'd guess he's managing expectations. 

 

There's an expectations shortfall concerning the price/quality ratio for the target group. Predictions show that inflated blue sky thinking in the early stages of the production process led to overly optimistic estimates which had to be downgraded after the focus group polls started to come in.

[Will 2,215]

On 9/20/2016 at 6:50 AM, loert said:

 

A fugue in one voice, you mean!

 

 

Yes. Actually, there's a tendency nowadays to call any piece that contains a repeating low string melody a fugue. 

On 9/19/2016 at 6:41 PM, karelm said:

My issue is that Giacchino, though a fine composer, is not a great spotter.  Herrmann, Goldsmith, Williams were/are all brilliant at it and that is a big part of why their scores get elevated above the others.  They get to the subtext of the scene rather than just the action of the scene.  For example, in Jurassic World, Giacchino might use the Jurassic Park theme where it made no dramatic sense.  Two characters discussing trivial dialog or something but it had a feel of "we need more references to make it feel like Jurassic Park".  Mastery in spotting is unjustly ignored these days.  Goldsmith was so detailed in his spotting.  In Patten, there isn't a single wasted note.  3 hour film with only 30 minutes of score but the music was very well spotted.  JW's equivalent is Saving Private Ryan.  Brilliant spotting.  Here is another fantastic example of JW's very fine spotting:

 

This scene is also an example of extremely good acting, cinematography, lighting, editing, directing, etc.  Yes, spotting decisions aren't made in a vacuum.  They are discussed and debated with the director and creative team but there is clearly a strong opinion of what the music needs to do in that moment to further the story and maybe even explain what is not being said (the subtext).  I have felt Desplat to have a greater awareness of this tool but Giacchino isn't quite there yet.  Maybe he just hasn't had the opportunity and in this film he'll nail in.

 

Woah. I've wanted to see Empire of the Sun for a while but have never gotten around to ordering it from the public library. I'd better do that tonight. That scene was absolutely amazing. The lighting...